Because of prejudice against them, black units were not used in combat as extensively as they might have been. Nevertheless, the soldiers served with distinction in a number of battles. Black infantrymen fought gallantly at Milliken's Bend, LA; Port Hudson, LA; Petersburg, VA; and Nashville, TN. The July 1863 assault on Fort Wagner, SC, in which the 54th Regiment of Massachusetts Volunteers lost two-thirds of their officers and half of their troops, was memorably dramatized in the film Glory. By war's end, 16 black soldiers had been awarded the Medal of Honor for their valor.
The black troops, however, faced greater peril than white troops when captured by the Confederate Army. In 1863 the Confederate Congress threatened to punish severely officers of black troops and to enslave black soldiers. As a result, President Lincoln issued General Order 233, threatening reprisal on Confederate prisoners of war (POWs) for any mistreatment of black troops. Although the threat generally restrained the Confederates, black captives were typically treated more harshly than white captives. In perhaps the most heinous known example of abuse, Confederate soldiers shot to death black Union soldiers captured at the Fort Pillow, TN, engagement of 1864. Confederate General Nathan B. Forrest witnessed the massacre and did nothing to stop it.
film styles capture one 233
59. At the same time we can note the rise of a false or superficial ecology which bolsters complacency and a cheerful recklessness. As often occurs in periods of deep crisis which require bold decisions, we are tempted to think that what is happening is not entirely clear. Superficially, apart from a few obvious signs of pollution and deterioration, things do not look that serious, and the planet could continue as it is for some time. Such evasiveness serves as a licence to carrying on with our present lifestyles and models of production and consumption. This is the way human beings contrive to feed their self-destructive vices: trying not to see them, trying not to acknowledge them, delaying the important decisions and pretending that nothing will happen.
164. Beginning in the middle of the last century and overcoming many difficulties, there has been a growing conviction that our planet is a homeland and that humanity is one people living in a common home. An interdependent world not only makes us more conscious of the negative effects of certain lifestyles and models of production and consumption which affect us all; more importantly, it motivates us to ensure that solutions are proposed from a global perspective, and not simply to defend the interests of a few countries. Interdependence obliges us to think of one world with a common plan. Yet the same ingenuity which has brought about enormous technological progress has so far proved incapable of finding effective ways of dealing with grave environmental and social problems worldwide. A global consensus is essential for confronting the deeper problems, which cannot be resolved by unilateral actions on the part of individual countries. Such a consensus could lead, for example, to planning a sustainable and diversified agriculture, developing renewable and less polluting forms of energy, encouraging a more efficient use of energy, promoting a better management of marine and forest resources, and ensuring universal access to drinking water.
240. The divine Persons are subsistent relations, and the world, created according to the divine model, is a web of relationships. Creatures tend towards God, and in turn it is proper to every living being to tend towards other things, so that throughout the universe we can find any number of constant and secretly interwoven relationships.[171] This leads us not only to marvel at the manifold connections existing among creatures, but also to discover a key to our own fulfilment. The human person grows more, matures more and is sanctified more to the extent that he or she enters into relationships, going out from themselves to live in communion with God, with others and with all creatures. In this way, they make their own that trinitarian dynamism which God imprinted in them when they were created. Everything is interconnected, and this invites us to develop a spirituality of that global solidarity which flows from the mystery of the Trinity.
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A documentary film or documentary is a non-fictional motion-picture intended to "document reality, primarily for the purposes of instruction, education or maintaining a historical record".[1] Bill Nichols has characterized the documentary in terms of "a filmmaking practice, a cinematic tradition, and mode of audience reception [that remains] a practice without clear boundaries".[2]
Early documentary films, originally called "actuality films", lasted one minute or less. Over time, documentaries have evolved to become longer in length, and to include more categories. Some examples are educational, observational and docufiction. Documentaries are very informative, and are often used within schools as a resource to teach various principles. Documentary filmmakers have a responsibility to be truthful to their vision of the world without intentionally misrepresenting a topic.
Polish writer and filmmaker Bolesław Matuszewski was among those who identified the mode of documentary film. He wrote two of the earliest texts on cinema Une nouvelle source de l'histoire (eng. A New Source of History) and La photographie animée (eng. Animated photography). Both were published in 1898 in French and among the early written works to consider the historical and documentary value of the film.[3] Matuszewski is also among the first filmmakers to propose the creation of a Film Archive to collect and keep safe visual materials.[4]
The word "documentary" was coined by Scottish documentary filmmaker John Grierson in his review of Robert Flaherty's film Moana (1926), published in the New York Sun on 8 February 1926, written by "The Moviegoer" (a pen name for Grierson).[5]
Grierson's principles of documentary were that cinema's potential for observing life could be exploited in a new art form; that the "original" actor and "original" scene are better guides than their fiction counterparts to interpreting the modern world; and that materials "thus taken from the raw" can be more real than the acted article. In this regard, Grierson's definition of documentary as "creative treatment of actuality"[6] has gained some acceptance, with this position at variance with Soviet film-maker Dziga Vertov's provocation to present "life as it is" (that is, life filmed surreptitiously) and "life caught unawares" (life provoked or surprised by the camera).
The American film critic Pare Lorentz defines a documentary film as "a factual film which is dramatic."[7] Others further state that a documentary stands out from the other types of non-fiction films for providing an opinion, and a specific message, along with the facts it presents.[8] Scholar Betsy McLane asserted that documentaries are for filmmakers to convey their views about historical events, people, and places which they find significant.[9] Therefore, the advantage of documentaries lies in introducing new perspectives which may not be prevalent in traditional medias such as written publications and school curriculum.[10]
Early film (pre-1900) was dominated by the novelty of showing an event. They were single-shot moments captured on film: a train entering a station, a boat docking, or factory workers leaving work. These short films were called "actuality" films; the term "documentary" was not coined until 1926. Many of the first films, such as those made by Auguste and Louis Lumière, were a minute or less in length, due to technological limitations (example on YouTube).
Films showing many people (for example, leaving a factory) were often made for commercial reasons: the people being filmed were eager to see, for payment, the film showing them. One notable film clocked in at over an hour and a half, The Corbett-Fitzsimmons Fight. Using pioneering film-looping technology, Enoch J. Rector presented the entirety of a famous 1897 prize-fight on cinema screens across the United States.
In May 1896, Bolesław Matuszewski recorded on film a few surgical operations in Warsaw and Saint Petersburg hospitals. In 1898, French surgeon Eugène-Louis Doyen invited Bolesław Matuszewski and Clément Maurice and proposed them to recorded his surgical operations. They started in Paris a series of surgical films sometime before July 1898.[11] Until 1906, the year of his last film, Doyen recorded more than 60 operations. Doyen said that his first films taught him how to correct professional errors he had been unaware of. For scientific purposes, after 1906, Doyen combined 15 of his films into three compilations, two of which survive, the six-film series Extirpation des tumeurs encapsulées (1906), and the four-film Les Opérations sur la cavité crânienne (1911). These and five other of Doyen's films survive.[12]
Between July 1898 and 1901, the Romanian professor Gheorghe Marinescu made several science films in his neurology clinic in Bucharest:[13] Walking Troubles of Organic Hemiplegy (1898), The Walking Troubles of Organic Paraplegies (1899), A Case of Hysteric Hemiplegy Healed Through Hypnosis (1899), The Walking Troubles of Progressive Locomotion Ataxy (1900), and Illnesses of the Muscles (1901). All these short films have been preserved. The professor called his works "studies with the help of the cinematograph," and published the results, along with several consecutive frames, in issues of La Semaine Médicale magazine from Paris, between 1899 and 1902.[14] In 1924, Auguste Lumiere recognized the merits of Marinescu's science films: "I've seen your scientific reports about the usage of the cinematograph in studies of nervous illnesses, when I was still receiving La Semaine Médicale, but back then I had other concerns, which left me no spare time to begin biological studies. I must say I forgot those works and I am thankful to you that you reminded them to me. Unfortunately, not many scientists have followed your way."[15][16][17] 2ff7e9595c
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